【文章內(nèi)容簡介】 ......................................................329 AND NAVIGATION(TPO11) .................................................................................336 BY NESTLINGS(TPO11)...............................................................................................342 HAND DID THEY USE?(TPO12) ....................................................................................348 TO SOUND IN FILM(TPO12)...................................................................................356 IN THE DESERT(TPO12) ...............................................................................................364 OF SOCIAL GROUPS(TPO13) .........................................................................................372 CLOCKS(TPO13).....................................................................................................378 OF STUDYING INFANT PERCEPTION(TPO13) .........................................................384 AND ADVERTISING(TPO14) ..................................................................390 WATER PROBLEMS(TPO14) ............................................................................................396 IN ANCIENT INNER EURASIA(TPO14)..................................................................402 WARMBLOODED TURTLE(TPO15) .........................................................................................408 EXTINCTIONS(TPO15)......................................................................................................413 FORMATION(TPO15) ..................................................................................................419招聘啟事 ......................................................................................................................................426在文勇的網(wǎng)站 會定期更新黃金精選閱讀最新版本,歡迎熱心同學(xué)定期轉(zhuǎn)載71 APPLIED ARTS AND FINE ARTSAlthough we now tend to refer to the various crafts according to the materials used to construct themclay, glass, wood, fiber, and metalit was once mon to think of crafts in terms of function, which led to their being known as the applied arts. Approaching crafts from the point of view of function, we can divide them into simple categories: containers, shelters and supports. There is no way around the fact that containers, shelters, and supports must be functional. The applied arts are thus bound by the laws of physics, which pertain to both the materials used in their making and the substances and things to be contained, supported, and sheltered. These laws are universal in their application, regardless of cultural beliefs, geography, or climate. If a pot has no bottom or has large openings in its sides, it could hardly be considered a container in any traditional sense. Since the laws of physics, not some arbitrary decision, have determined the general form of appliedart objects, they follow basic patterns, so much so that functional forms can vary only within certain limits. Buildings without roofs, for example, are unusual because they depart from the norm. However, not all functional objects are exactly alike。 that is why we recognize a Shang Dynasty vase as being different from an Inca vase. What 在文勇的網(wǎng)站 會定期更新黃金精選閱讀最新版本,歡迎熱心同學(xué)定期轉(zhuǎn)載8varies is not the basic form but the incidental details that do not obstruct the object39。s primary function. Sensitivity to physical laws is thus an important consideration for the maker of appliedart objects. It is often taken for granted that this is also true for the maker of fineart objects. This assumption misses a significant difference between the two disciplines. Fineart objects are not constrained by the laws of physics in the same way that appliedart objects are. Because their primary purpose is not functional, they are only limited in terms of the materials used to make them. Sculptures must, for example, be stable, which requires an understanding of the properties of mass, weight distribution, and stress. Paintings must have rigid stretchers so that the canvas will be taut, and the paint must not deteriorate, crack, or discolor. These are problems that must be overe by the artist because they tend to intrude upon his or her conception of the work. For example, in the early Italian Renaissance, bronze statues of horses with a raised foreleg usually had a cannonball under that hoof. This was done because the cannonball was needed to support the weight of the leg. In other words, the demands of the laws of physics, not the sculptor39。s aesthetic intentions, placed the ball there. That this device was a necessary structural promise is clear from the 在文勇的網(wǎng)站 會定期更新黃金精選閱讀最新版本,歡迎熱心同學(xué)定期轉(zhuǎn)載9fact that the cannonball quickly disappeared when sculptors learned how to strengthen the internal structure of a statue with iron braces (iron being much stronger than bronze). Even though the fine arts in the twentieth century often treat materials in new ways, the basic difference in attitude of artists in relation to their materials in the fine arts and the applied arts remains relatively constant. It would therefore not be too great an exaggeration to say that practitioners of the fine arts work to overe the limitations of their materials, whereas those engaged in the applied arts work in concert with their materials. Paragraph 1: Although we now tend to refer to the various crafts according to the materials used to construct themclay, glass, wood, fiber, and metalit was once mon to think of crafts in terms of function, which led to their being known as the applied arts. Approaching crafts from the point of view of function, we can divide them into simple categories: containers, shelters and supports. There is no way around the fact that containers, shelters, and supports must be functional. The applied arts are thus bound by the laws of physics, which pertain to both th